Here's my extended piece on the film for Cinema Scope.
Diaz tends to shoot certain specific activities—searching, discoursing, remembering, and forgetting—in single, static shots. But over the long trajectory of his film works, especially the most recent ones, Diaz is more likely to employ standard decoupage. If the fixed stare at particular actions and events is strictly psychological, meant to convey the unsteady affect of a trauma victim, then Diaz’s cinema also carves out room for a more balanced, third-person perspective on events.
This third-person point of view, however, is not objective. Diaz perhaps moves us between the shattered, attenuated space of trauma and the slow, careful articulation of long suppressed left-intellectual truths. There has been a…